• Vile, vile, vile

    Oh, vile was the journey home from Edinburgh last night.

    Every now and then there is hand wringing about how few the number of people are who make the trip over from Glasgow (city of light and beauty) to Edinburgh (town of dark pleasures and dug-up roads) for arts events in the Edinburgh festival. Indeed, this year, they’ve installed a useful ticket booth for the Fringe in Queen Street station, pour encourager les autres.

    That’s a good idea in itself, but access to tickets isn’t the primary reason that people don’t make the journey.

    I can understand why they might want to encourage more people. After all, I’ve been at two of the top notch events in the official festival in the last week and on each occasion there have been many empty seats all around me. (Funny, isn’t it that empty seats at the Olympics are a national scandal whilst empty seats at the world’s premier arts festival cause no headlines.)

    [In passing, I would also note with a slight grump that the Festival is now refusing to give a companion’s ticket to reviewers these days despite having all those empty seats to fill].

    A big part of the reason for people not wanting to go to Edinburgh at night from the land of plenteousness in the West is that the journey can be just so vile.

    You don’t want to drive to Edinburgh because in Edinburgh you can neither park nor drive. All roads in the centre are likely to be dug up or congested due to the long-running tram debacle which would be better described as a piece of performance art than a transport policy.

    And the late night trains from Edinburgh are just so horrible.

    Last Saturday night there was terrible overcrowding on the trains. They know that the Edinburgh festival is on its way presumably every year. And though there is the odd extra train very late at night, the capacity at 1030 pm just isn’t good enough. Corridors are full of people and toilets are full of…. well, never mind what they are full of.

    Last night I thought I got lucky by getting a seat in the front of the train. However, that feeling of pleasure and delight was soon dashed from the castle ramparts above Waverley station as Glasgow’s generic, belligerent, loud, smelly, objectionable drunk decided to sit at my table. After announcing to one and all quite how p….drunk he was, he then proceeded to keep up a commentary on everyone else in the carriage. Young women were lampooned for being too fat for him, too thin for him or wearing the wrong clothes. Every man was a threat that made him nervous and tetchy. Anyone with a briefcase was subject to questioning about what they did and whether they had any money in the case.

    Dozens of people had a miserable end to whatever kind of evening that they had had.

    I chose the line of least resistance and feigned sleep. However, closing your eyes to such bad behaviour is hardly any easier than keeping vigilant watch.

    Scotrail supposedly have a no alcohol and no drunks policy on late-night trains. If they are going to come anywhere near enforcing it then they need some staff on the trains. Last night there was no sign of a guard, conductor, ticket-wallah or whatever the whole vile journey.

    Quite ghastly and bound to make one think twice about making the journey again.

9 responses to “The Lament Question”

  1. kimberly Avatar

    ask it in the singular, and the answer is: because you’re a four.

    you’ll have me playing the funeral ikos next.

  2. kimberly Avatar

    the other answer is about possibility being revealed in limits.

  3. kelvin Avatar

    Its not just me though, and not just fours.

  4. Aaron Orear Avatar

    I think because sorrow touches the core of the human condition – we are mortal but can perceive immortality. “He has made everything suitable for its time; moreover he has put a sense of past and future into their minds, yet they cannot find out what God has done from the beginning to the end.” (Eccl. 3:11)

  5. Erp Avatar
    Erp

    I understand Aristotle talks about catharsis and various philosophers have followed up on that idea.

    Perhaps it arouses sadness both from the art itself but also from our own sources festering within and allows us to let go. We feel better for the letting go, the lessening of our own internal sadness, and so perceive the art as beautiful.

  6. RosemaryHannah Avatar
    RosemaryHannah

    Kimberly was there before me. However, even I, a nine, can sometimes see the beauty in sad things. For me they do two things (may be more but two are most obvious). The first is the catharsis thing. The second is to make me less lonely. Look, here am I weeping, but all around me people sit in the same sorrow. It is not just my sorrow – I am not alone.

    I have long thought there is another answer, one I do not properly understand but I have (I think – and who am I to think it). Deep in God there is a huge well of sorrow. Unless we experience sorrow we cannot understand God. When we sorrow we tap into that well, and become closer to him.

    And being a nice cheerful nine, I will now add that I live in hope that having sorrowed with him, we will share also and even more fully in the joy which swallows the sorrow. Delete this last paragraph from your mind on reading, it will only spoil the joy of the sorrow.

  7. Elizabeth Avatar
    Elizabeth

    Edgar Allan Poe said the most beautiful thing in the world is a beautiful, dead woman. Nice, eh?

  8. Ritualist Robert Avatar
    Ritualist Robert

    Surely it’s because the concept of beauty is independent from concepts such as ‘sadness’ and ‘happiness’ – just as a G major chord might be loud or soft, but that volume has no effect on its G major-ness.

  9. Steve Avatar
    Steve

    I remember Augustine saying (don’t ask me where) that for a picture to be beautiful it requires dark colours as well as bright.

    There is also a hint of an answer in this poem by Edwin Muir:

    Yet still from Eden springs the root
    As clean as on the starting day.
    Time takes the foliage and the fruit
    And burns the archetypal leaf
    To shapes of terror and of grief
    Scattered along the winter way.
    But famished field and blackened tree
    Bear flowers in Eden never known.

    Blossoms of grief and charity
    Bloom in these darkened fields alone.
    What had Eden ever to say
    Of hope and faith and pity and love
    Until was buried all its day
    And memory found its treasure trove?
    Strange blessings never in Paradise
    Fall from these beclouded skies.

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